verdure engraved - winter 2015
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verdure engraved winter 2015
contents hallveig agustsdottir
arianna sanesi emila medkova rosylyn drexler
gteta stern alicia d’amico
elana darikovich jaak kadarik
christian schad milner gray
margaret watkins suzanne duchamp
unknown artist unknown artist
james dixon viacheslav tarnovetski
emil orlik norah borges
rei taka josef ehm
leideitchikov betty hahn
sergei gitman jaroslav rossler
rcover image by pheobe riley law
frontispiece by jrf
Being fascinated by the relation between music and visual art and not wanting to choose between them, Hallveig Agustsdottir turned to soundscapes in her most recent drawings. She started a quest for an accurate way of depicting music, sounds, noise. Yet this sound-based approach turns out to be a starting point for exploring texture and material. By restricting herself to an artist’s basic materials (paper, charcoal and white acrylics) she seems to discover freedom within this strict limitation.
Paper, more so than canvas, is sensitive to mark making and thus can be dented and scarred. By carving, scraping and injuring, the paper itself becomes textured which affects the black of the charcoal and the white acrylics applied on it. The unctuous wet gesso disintegrates the charcoal at some points in unintended veils of brown and blue while the surface becomes a bursting crust that erodes and recovers itself through the both soft and powerful handling of the materials.
Through an aleatoric method of working Hallveig shows us the importance she attaches to the process of the making of the drawings and wipes out the difference between noise and music, scribbling and drawing, black and white. She accepts all consequences of every mark and that implies that every drawing is worked on until it satisfies and has balance. Layer upon layer is added, erasing is obtained by adding more drawing and gesso. In that way the drawing process evokes a whole world of creation and destruction, light and dark, with reminiscences to landscapes, musical scores and noise. And the viewer isn’t even forced to choose between them.
Michael Bouchez © 2010
arianna sanesi the 28 names we know
The 28 Names We Know
"So I walk in the forest at night and early morning, and look for a sign of the memory these trees hold within. Their roots go down three times
their height and, after what they have witnessed, they are bound to protect it forever. I have the feeling they are doing it well and watching
me trying to do the same thing, stumbling in the dark on soft soil and rotten branches.
We do not know all of the names of the people killed in these forests, and we barely know the number. But some names have resisted through history, just like these trees. These names are those of the children killed
in Kuldiga. They did not have the chance to grow. These trees did."
The 28 Names We Know is a project about Holocaust and memory, done with the guidance of Simon Norfolk during the masterclass
"Photographing The Past" in ISSP, Latvia. In 1941 Jewish people have been mostly exterminated with mass
executions that usually took place in the forests or on some beaches (Liepaja, nowadays crowded with tourists). I decided to focus on mass killings that took place not far from Kuldiga town, in Kurzeme region. The forest has a main role in latvian tradition and in "dainas", latvian traditional folk songs: it is a place for mystery, magic, but it has also
been a safe refuge for rebellious fighters. Trees are a strong symbol in all cultures, and they have been widely used in the Garden of the Righteous
to stand for the memory of unforgettable individuals.
I tried to convey the need and the will to remember with the indefinable feeling we get in those enchanting and yet gloomy forests. Nature is a
sumptuous and powerful witness, and it is often described as indifferent to human struggles. The act of choosing trees in that location, looking at
them one by one as they were people, just made me realise there is more than that, and we can hardly unveil the mystery of it.
I used the names provided by Yad Vashem Archives, and (as they also warn) sometimes they could be misspelt or written twice, but such is the
battle to keep memory alive: it has to deal with human limitations. I used to show the entire work in a long strip going from light to
darkness, that reminds me not only of the forest and the time passing in it, but most of all of the frightening lists of names I read while doing
research for this project.
designed for clarice cliff production
book illustration unknown artist
book illustration unknown artist
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